De Monarchia (A Work of Political the Reading Assignments for This
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Purgatório Político”: a Concepção De Poder Unitário De Dante Alighieri Na Florença Do Século Xiv
“PURGATÓRIO POLÍTICO”: A CONCEPÇÃO DE PODER UNITÁRIO DE DANTE ALIGHIERI NA FLORENÇA DO SÉCULO XIV “POLITICAL PURGATORY”: DANTE ALIGHIERI’S CONCEPTION OF UNITARY POWER IN THE 14TH CENTURY FLORENCE “PURGATORIO POLÍTICO”: EL CONCEPTO DE PODER UNITARIO DE DANTE ALIGUIERI EN LA FLORENCIA DEL SIGLO XIV Rodrigo Peixoto de Lima1 Mariana Bonat Trevisan2 Resumo Através desse estudo buscamos compreender as concepções políticas defendidas por Dante Alighieri, pensador laico florentino do século XIV, em suas obras. Particularmente, pretendemos analisar as voltadas à valorização do pensamento e do poder laicos (o poder temporal em comparação com o poder espiritual) presentes em sua obra Divina Comédia (em específico, no texto referente ao Purgatório), traçando comparativos com outro escrito do autor: De Monarchia. Palavras-chave: Dante Alighieri. Divina Comédia. Da Monarquia. Pensamento político na Baixa Idade Média. Abstract Through this study, we seek to understand the political conceptions defended by Dante Alighieri, a 14th century Florentine secular thinker, in his works. In particular, we intend to analyze the political conceptions aimed at valuing secular thought and power (the temporal power in comparison with the spiritual power) present in his work Divine Comedy (specifically, in the text referring to Purgatory), drawing comparisons with another writing by the author: De Monarchia. Keywords: Dante Alighieri. The Divine Comedy. The Monarchy. Political thought in the Late Middle Age. Resumen A través de este estudio tratamos de comprender las concepciones políticas defendidas por Dante Aliguieri, pensador laico florentino del siglo XIV, en sus obras. Particularmente, pretendemos analizar aquellas dirigidas a la valoración del pensamiento y poder laicos (el poder temporal en comparación con el poder espiritual) presente en su obra Divina Comedia (en específico, en el texto referido al Purgatorio), estableciendo comparaciones con otro escrito del autor: De la Monarquía. -
Fra Sabba Da Castiglione: the Self-Fashioning of a Renaissance Knight Hospitaller”
“Fra Sabba da Castiglione: The Self-Fashioning of a Renaissance Knight Hospitaller” by Ranieri Moore Cavaceppi B.A., University of Pennsylvania 1988 M.A., University of North Carolina 1996 Thesis Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University May 2011 © Copyright 2011 by Ranieri Moore Cavaceppi This dissertation by Ranieri Moore Cavaceppi is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date Ronald L. Martinez, Advisor Recommended to the Graduate Council Date Evelyn Lincoln, Reader Date Ennio Rao, Reader Approved by the Graduate Council Date Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE Ranieri Moore Cavaceppi was born in Rome, Italy on October 11, 1965, and moved to Washington, DC at the age of ten. A Fulbright Fellow and a graduate of the University of Pennsylvania, Ranieri received an M.A. in Italian literature from the University of North Carolina at Chapel Hill in 1996, whereupon he began his doctoral studies at Brown University with an emphasis on medieval and Renaissance Italian literature. Returning home to Washington in the fall of 2000, Ranieri became the father of three children, commenced his dissertation research on Knights Hospitaller, and was appointed the primary full-time instructor at American University, acting as language coordinator for the Italian program. iv PREFACE AND ACKNOWLEDGMENTS I deeply appreciate the generous help that I received from each member of my dissertation committee: my advisor Ronald Martinez took a keen interest in this project since its inception in 2004 and suggested many of its leading insights; my readers Evelyn Lincoln and Ennio Rao contributed numerous observations and suggestions. -
Appendix A: Selective Chronology of Historical Events
APPENDIX A: SELECTIVE CHRONOLOGY OF HIsTORICaL EVENTs 1190 Piero della Vigna born in Capua. 1212 Manente (“Farinata”) degli Uberti born in Florence. 1215 The Buondelmonte (Guelf) and Amidei (Ghibelline) feud begins in Florence. It lasts thirty-three years and stirs parti- san political conflict in Florence for decades thereafter. 1220 Brunetto Latini born in Florence. Piero della Vigna named notary and scribe in the court of Frederick II. 1222 Pisa and Florence wage their first war. 1223 Guido da Montefeltro born in San Leo. 1225 Piero appointed Judex Magnae Curia, judge of the great court of Frederick. 1227 Emperor Frederick II appoints Ezzelino da Romano as commander of forces against the Guelfs in the March of Verona. 1228 Pisa defeats the forces of Florence and Lucca at Barga. 1231 Piero completes the Liber Augustalis, a new legal code for the Kingdom of Sicily. 1233 The cities of the Veronese March, a frontier district of The Holy Roman Empire, transact the peace of Paquara, which lasts only a few days. © The Author(s) 2020 249 R. A. Belliotti, Dante’s Inferno, https://doi.org/10.1007/978-3-030-40771-1 250 AppeNDiX A: Selective ChrONOlOgY Of HistOrical EveNts 1234 Pisa renews war against Genoa. 1235 Frederick announces his design for a Holy Roman Empire at a general assembly at Piacenza. 1236 Frederick assumes command against the Lombard League (originally including Padua, Vicenza, Venice, Crema, Cremona, Mantua, Piacenza, Bergamo, Brescia, Milan, Genoa, Bologna, Modena, Reggio Emilia, Treviso, Vercelli, Lodi, Parma, Ferrara, and a few others). Ezzelino da Romano controls Verona, Vicenza, and Padua. -
Dante: Christian Thought Expressed Through Poetry
CVSP 202/205: DANTE 1 Dante: Christian Thought Expressed through Poetry Dante Alighieri (1265-1321) Key writings: La Vita Nuova De vulgari eloquentia Convivio De monarchia La (Divina) Commedia -Inferno -Purgatorio -Paradiso (Domenico di Michelino, 1465) LECTURE TOPICS • Beginnings, Middles, Ends • The Divine Comedy: Structure and Narrative • The Divine Comedy: Christianity and Antiquity • Medieval reading practices • Dante and Florence: politics and exile ANTIQUITY CHRISTIANITY Reason (philosophy) Faith (theology) Representative authors: Representative authors: -Aristotle, Virgil -Augustine, Aquinas Virgil leads Dante from the gates of Beatrice leads Dante from the Hell to the ascent of Mount Earthly Paradise through the Purgatory heavenly spheres STRUCTURE NARRATIVE 3 Spaces, subdivided: 3 Canticles, subdivided -Hell (circles) -Inferno (34 cantos) -Purgatory (terraces) -Purgatorio (33 cantos) -Heaven (spheres) -Paradiso (33 cantos) Organizing principle: divine love Organizing principle: journey Comprehended by: Dante the poet Apprehended by: Dante the pilgrim “Io non Enëa, io non Paulo sono” (“I am not Aeneas, I am not Paul” Inf. II.32) CVSP 202/205: DANTE 2 DANTE’S VERSE Dante’s epic is composed in a verse form of his own invention known as terza rima: staggered, alternating triplets of lines rhyme, while consecutive lines are grouped into “tercets” of three lines each. The result: the first and last lines of each tercet rhyme, while the ending of the middle line gives the rhyme-sound that will appear in the next tercet. Follow this effect in the poem’s opening (Inferno I.1-9) both in the Italian text and the rhymed translation by M. Palma. Nel mezzo del cammin di nostra vita Midway through the journey of our life, I found mi ritrovai per una selva oscura myself in a dark wood, for I had strayed ché la diritta via era smarrita. -
Reading Medieval Studies Dante's Francesca and the Poet's Attitude
READING MEDIEVAL STUDIES DANTE'S FRANCESCA AND THE POET'S ATTITUDE TOWARDS COURTLY LITERA TURE In the De Vulgori Eloquentio, Donte speaks of the supremacy of the langue d'ail where prose is concerned: 'propter sui faciliorem ac delecto biliorem vulgoritatem quicquid redactum sive inventum ad vulgore prosaycum, suum est: videlicet Biblia cum Troianorum Romonorumque gestibus com pilato et Arturi regis amboges pulcerrime et quomplures alie ystorie DC doctrine.' 1 The epithet pulcerrime stonds in intriguing opposition to the possible condemnation of the Arthur~an romances contained in Francesco do Rimini's finol speech in Inferno V. Of COlme, pulcerrime is not a moral iudgment; but for the loter Dante at least, aesthetic beauty and goodness could not be divorced. This brings us immediately to the problem of dating the Inferno. believe that the Comedy cannot have been conceived in the form we know it before or during the composition of the De Vu lgari Eloquentia, where the canzone reigns supreme and the poet draws up a retrospective balance ~ For reasons expounded elsewhere, I am convinced that the first cantos of the Inferno were written after the celebration of Aeneas's descent to the underworld in the Convivio; in on ideal scheme, shortly afterwards. 3 It is therefore likely that the fifth canto of the Inferno was written four or five years after the passage quoted from the DV~ this space of time, did Dante change his attitude towards courtlY'lTteroture or 'fiction' in general? If so, it would not be out of character in a writer whose writings show a deep-rooted need to re-examine and formulate anew his answers to the problems presented by literature and life . -
Theologians As Persons in Dante's Commedia Abigail Rowson
Theologians as Persons in Dante’s Commedia Abigail Rowson Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of Languages, Cultures and Societies January 2018 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Abigail Rowson to be identified as Author of this work has been asserted by Abigail Rowson in accordance with the Copyright, Designs and Patents Act 1988. 2 Acknowledgements Firstly, I am indebted to my supervisors, Claire Honess and Matthew Treherne, whose encouragement and support at the outset of this project gave me the confidence to even attempt it. I hope this work repays at least some of the significant amount of trust they placed in me; they should know that I shall be forever grateful to them. Secondly, this thesis would not have taken the shape it has without some wonderful intellectual interlocutors, including the other members of the Leeds/Warwick AHRC project. I feel fortunate to have been part of this wider intellectual community and have benefited enormously by being one of a team. I began to develop the structure and argument of the thesis at the University of Notre Dame’s Summer Seminar on Dante’s Theology, held at Tantur Ecumenical Institute, Jerusalem, 2013. The serendipitous timing of this event brought me into contact with an inspirational group of Dante scholars and theologians, whose generosity and intellectual humility was the hallmark of the fortnight. -
Epistle to Cangrande and Its Two Authors
ITALIAN LECTURE Dante’s Epistle to Cangrande and its Two Authors CARLO GINZBURG Fellow of the Academy I THE DEBATE OVER THE AUTHENTICITY, whether total or partial, of the Epistle to Cangrande traditionally ascribed to Dante has been going on for over a century. Less than twenty years ago the issue was thoroughly scrutinised by Henry Ansgar Kelly—who rejected the authenticity of the Epistle—and by Robert Hollander—who supported it.1 While I shall occasionally recall some of the conflicting arguments presented in the his- torical debate as background information, I shall concentrate mainly on the presentation of a new hypothesis of my own. All Dante’s letters are in Latin; the Epistle to Cangrande is no excep- tion.2 We can divide it into three sections. In the first section (paragraphs 1–4), which is written in the first person, Dante tells Cangrande della Scala, lord of Verona, that he is dedicating to him the third part, or cantica, of his Commedia: the Paradiso, at that time (about 1316) still Read at the Italian Cultural Institute, London, 3 November 2005. 1 H. A. Kelly, Tragedy and Comedy from Dante to Pseudo-Dante (Berkeley, Los Angeles and London, 1989); R. Hollander, Dante’s Epistle to Cangrande (Ann Arbor, 1993). 2 All quotations are from Dante Alighieri, Epistola a Cangrande, ed. E. Cecchini (Florence, 1995). See also G. Brugnoli’s detailed commentary in Dante Alighieri, Opere minori, 2 (Milan and Naples, 1979), pp. 512–21, 598–643 (the introduction is dated 1973). English translation: The Letter to Can Grande, in R. -
Biscioni's Dante
Biscioni’s Dante Beatrice Arduini and Jelena Todorovi´c Abstract This essay focuses on the 1723 edition of two of Dante Alighieri’s “minor texts”, the Vita Nova and the Convivio, both of which had troubled editorial histories, within the volume Prose di Dante Alighieri e di Messer Gio. Boccacci prepared for the Tartini press in Flor- ence by Anton Maria Biscioni. In intervening in the texts of both works in unique ways, this edition sought to return to Dante’s original intentions when writing them. This essay argues that Anton Maria Biscioni’s work offers modern readers a unique glimpse into the work- shop of an editor of this eighteenth-century edition of Dante’s texts, an editor who details all the facets of the editorial process, from the collation of manuscripts to the hard choices determined by that collation and by the current practices of the editorial trade. The authors argue that main achievements of this 1723 edition can be seen in its editor’s promotion of bibliographical studies. This paper offers a glimpse into the history of printed edi- tions of Dante Alighieri’s works, a history that has yet to be fully written. The following pages will focus on two of Dante’s “minor works”, namely the Vita Nova and the Convivio, as these were included in a 1723 volume entitled Prose di Dante Alighieri e di Messer Gio. Boccacci prepared for the Tartini press in Florence by Anton Maria Biscioni.1 Of Dante’s texts, the 1. This essay emerges from two separate larger studies by Arduini and Todorovic´ on the reception of Dante’s Vita Nova and the Convivio, united here by an inter- est in the sole eighteenth-century edition to include the two works. -
THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no. -
“TWO SUNS THEORY” and the MONARCHIA of DANTE 99 Ministro Seu Vicario4 (1.2.3)
History Research, April-June, 2015, Vol. 5, No. 2, 98-108 doi: 10.17265/2159-550X/2015.02.003 D DAVID PUBLISHING Further Discussion on the “Two Suns Theory” and the Monarchia of Dante* Sabina Tuzzo Università del Salento, Italy The De Monarchia can be considered the summa of Dante’s political thought, of which we can also find some starting points in the Convivio, in the Epistles and in the Divine Comedy. Here, in Purgatorio XVI, Marco Lombardo, after stating that the misrule of the popes led the world to the sin, articulates Dante’s view of the Empire and Papacy as separate authorities and cites the instance of Rome at the pagan Age, when Rome used to possess two autonomous institutions to drive mankind both towards the material happiness and the spiritual one (vv. 106 ff. “soleva Roma, che ‘l buon mondo feo/ due soli aver, che l’una e l’altra strada/ facean vedere, e del mondo e di Dio”). The image of “two suns” also returns in the III Book of De Monarchia by Dante. Here Dante, inquiring into the relationship between “the two greatest luminaries”, that is the Roman Pontiff and the Roman Prince, wonders if the authority of the Roman ruler descends directly from God or from someone of His ministers. For Dante the Emperor, whose authority is given to him directly by God, does not depend on the Pope, but the Emperor is absolutely independent of the Pope. Keywords: Two Suns, Dante, De Monarchia, Empire and Papacy Dante’s Monarchia1, probably completed in the last years of his life2, can be considered the summa of his political thought3. -
Rewriting Dante: the Creation of an Author from the Middle Ages to Modernity
Rewriting Dante: The Creation of an Author from the Middle Ages to Modernity by Laura Banella Department of Romance Studies Duke University Date: _______________ Approved: ___________________________ Martin G. Eisner, Supervisor ___________________________ David F. Bell, III ___________________________ Roberto Dainotto ___________________________ Valeria Finucci Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2018 ABSTRACT Rewriting Dante: The Creation of an Author from the Middle Ages to Modernity by Laura Banella Department of Romance Studies Duke University Date: _________________ Approved: ___________________________ Martin G. Eisner, Supervisor ___________________________ David F. Bell, III ___________________________ Roberto Dainotto ___________________________ Valeria Finucci An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2018 Copyright by Laura Banella 2018 Abstract Rewriting Dante explores Dante’s reception and the construction of his figure as an author in early lyric anthologies and modern editions. While Dante’s reception and his transformation into a cultural authority have traditionally been investigated from the point of view of the Commedia, I argue that these lyric anthologies provide a new perspective for understanding how the physical act of rewriting Dante’s poems in various combinations and with other texts has shaped what I call after Foucault the Dante function” and consecrated Dante as an author from the Middle Ages to Modernity. The study of these lyric anthologies widens our understanding of the process of Dante’s canonization as an author and, thus, as an authority (auctor & auctoritas), advancing our awareness of authors both as entities that generate power and that are generated by power. -
Dante and Giovanni Del Virgilio : Including a Critical Edition of the Text
Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dantegiovannidelOOdantuoft DANTE AND GIOVANNI DEL VIEGILIO. W^ Dante and Giovanni del Virgilio Including a Critical Edition of the text of Dante's " Eclogae Latinae " and of the poetic remains of Giovanni del Virgilio By Philip H. Wicksteed, M.A. and Edmund G. Gardner, M.A. Solatur maesti nunc mea fata senis Westminster Archibald Constable & Company, Ltd. 1902 GLASGOW: PRINTED AT THE UNIVERSITY PRESS BV ROBERT MACLEHOSB AND CO. TO FRANCIS HENRY JONES AND FRANCIS URQUHART. PREFACE. Our original intention was merely to furnish a critical edition, with a translation and commentary, of the poetical correspondence between Dante and Del Virgilio. But a close study of Del Virgilio's poem addressed to Mussato, with a view to the discovery of matter illustrative of his correspondence with Dante, convinced us that Dante students would be glad to be able to read it in its entirety. And when we found ourselves thus including the greater part of Del Virgilio's extant work in our book, the pious act of collecting the rest of his poetic remains naturally sug- gested itself; and so our project took the shape of an edition of Dante's Latin Eclogues and of the poetic remains of Del Virgilio, The inclusion in our work of the Epistle to Mussato made some introductory account of the Paduan poet necessary ; and his striking personality, together with the many resemblances and contrasts between his lot and that of Dante, encouraged us to think that such an account would be acceptable to our readers.